Amelia Elliott Architecture Portfolio

School of ArchitectureCollege of Architecture Planning and Landscape ArchitectureUniversity of Arizona

portfolioamelia elliott

R E S U M EducationUniversity of Arizona: Bachelor of Architecture, Minor in Spanish, GPA: 3.8 2008-2014Arizona in Italy, Study Abroad Program 2012, summerUniversidad de Salamanca, Study Abroad Program 2007, summerDesert Vista High School 2004-2008

Scholarship & RecognitionAIA Certificate of Merit from the Henry Adams Fund 2014Award for Achievement in Building Technology 2014Award for Achievement in Architectural History and Theory 2014Senior Award Nomination, eligible for Freeman, Robie, or Nugent Award 2014Tau Sigma Delta Honor Society Member, newly formed CAPLA chapter 2013-2014Durrant Scholarship Recipient 2012-2013House for a Megachurch Pastor published, iarch.com 2012CAPLA Design Excellence Award Nomination 2010, 2011Wildcat Excellence Scholarship Recipient 2008-2012

InvolvementDrachman Design Build Coalition (DDBC) House #5, building and business experience 2013-2014CAPLA Faculty Search Committee Member 2012, springAIAS University of Arizona Chapter Treasurer 2011-2014AIAS University of Arizona Member 2010-2014

Work ExperienceSmithGroupJJR Intern 2013, summerARC221 Structures Grader, Chris Trumble employer 2012, fallPavement Marking Inc, Office Aid 2005-2008

ReferencesBrian AndrewsCAPLA Adjunct [email protected](213) 840 - 4669

Mary HardinCAPLA Associate [email protected](520) 621 - 6751

Michael KothkeCAPLA [email protected](520) 834 - 2326

Brad LangCAPLA Assistant Lecturer [email protected](480) 570 - 5296

Chris TrumbleCAPLA Assistant [email protected](520) 621 - 6741

Scott SlaterBespoken [email protected](626) 590 - 6729

SkillsAdobe InDesignAdobe IllustratorAdobe PhotoshopAdobe PremiereAutodesk 3DS MaxAutodesk AutocadAutodesk RevitGrasshopperMicrosoft ExcelMicrosoft PowerPointMicrosoft WordSketchUp3D Printing

Laser CuttingWood and Metal Shop SkillsPhysical ModelingHand DraftingSketching

TravelAustriaBelgiumBelizeCanadaCzech RepublicDenmarkEngland

FranceGermanyGreeceIceland ItalyMexicoNetherlands

NorwayPortugalSpainSwitzerlandSwedenTurkey

Vertical SectionScale: 1/8=1-0



0304050607

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Poetry Center PavilionArc201_2010

History Research ProjectArc232_2011

Diagramming PrecedentsArc341_2011

StructuresA: Arc231_2010, B: Arc322_2012

Timber in the CityArc402_2013

Design Build House #5Arc451_2013-14

CapstoneArc452_2013-14

Center for CollaborationArc401_2012

Arizona in OrvietoArc497_2012

Barrio MarketplaceArc302_2012

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080910

P O R T F O L I O 2 0 1 0 _ 2 0 1 4

open study arealibrary collectionsauditoriumexterior terracecatwalkgallery private collectionslobby + receptionadministration ocesmechanicalpublic stairlibrary referencegalleryoutdoor cafeserverscafejanitorial storagework roomexit stairspublic restroomcommunity meeting roomITlarge study roomconference roomcoeecafe deliveriesgeneral loading areabreakout roomstoragevisiting faculty oceaudio visual labmusic rehearsal roomelevatorssmall study roomstudy carrels

9000700060006000500040003000200020001600150015001500900500500650363300300220200200200200200120120100100100100757000

9000700060006000500040003000200020006400150015001500900500200065029042400300220220040020020020012012080020040080012004200

FUNCTION AREA

elevatorelevator elevator elevatorelevatorelevator

29.92 29.9229.92

arc401.technical systems integration. fall.2012. brad lang. mark cone. amelia elliott. 05 december 2012. parti plan diagrams

net spaces: 54,670 sqftgross: 80,814sqft 72.11%efficiency

PROJECT PARTI DIAGRAM

collective

singular

open study arealibrary collectionsauditoriumexterior terracecatwalkgallery private collectionslobby + receptionadministration ocesmechanicalpublic stairlibrary referencegalleryoutdoor cafeserverscafejanitorial storagework roomexit stairspublic restroomcommunity meeting roomITlarge study roomconference roomcoeecafe deliveriesgeneral loading areabreakout roomstoragevisiting faculty oceaudio visual labmusic rehearsal roomelevatorssmall study roomstudy carrels

9000700060006000500040003000200020001600150015001500900500500650363300300220200200200200200120120100100100100757000

9000700060006000500040003000200020006400150015001500900500200065029042400300220220040020020020012012080020040080012004200

FUNCTION AREA

elevatorelevator elevator elevatorelevatorelevator

29.92 29.9229.92

arc401.technical systems integration. fall.2012. brad lang. mark cone. amelia elliott. 05 december 2012. parti plan diagrams

net spaces: 54,670 sqftgross: 80,814sqft 72.11%efficiency

PROJECT PARTI DIAGRAM

collective

singular

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This projects goal was to design and refine a building, beginning with programming, and continuing all the way through to structure, systems, and details. As the most complex project completed yet, it was an opportunity to synthesize all of the skills learned in semesters past.

The site is divided hierarchically by program, both in terms of scale of occupancy and scale of space. Focusing on linear movement through the site, the program becomes progressively smaller, more intimate, and brighter towards the north.

Center for Information & CollaborationArc401_Design Studio_Systems Integration

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mechanical room

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1/16" = 1'-0"Level 1

1/8" = 1'-0"Plan Detail, Level 1

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The division and intermingling of space will promote collaboration through the juxtaposition of programmatic elements, separating and fusing the larger programs and the smaller. To the south, the largest program, the auditorium, anchors the building to the site both as a physical mass and as the richest and most dynamic program. Each adjacent space transitioning north becomes more focused on the individual, becoming more quiet and naturally lit. This diffusion of space by program continues both vertically and horizontally on consecutive floors, with the library and galleries dissipating north into offices and study carrels. The intermingling of group activities with individual will create an environment conducive to collaboration. Upon reaching the north wall, the individual program units project out, creating light wells through to the floors below and the effect of dissipating, fragmenting program and structure.

2 3 4 5 61

Roof67' - 0"

Parking Level -1-12' - 0"


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1/16" = 1'-0"1Section 1

1/4" = 1'-0"2Detail of Entry

45

Steel Truss System: 2 by 18 steel wide ange columns

Exterior Walls: light gauge alumi-num framing, 4 insulation, gypsum interior, white painted nish

Stairs: perforated steel treads suspended from the steel struc-ture above by steel cables attached to structure and an-chored to ground (catwalk anno-tations: see elevation details)

Concrete Bearing wall, 2 thick, connected to concrete parking garage structure below and an-choring steel truss cantilever system with rebar above.

Corrogated steel decking with 4 concrete slab, nished oor

Drop ceiling comprised of metal mesh panels assembled in a 2 by 2 grid, hanging 3 below steel structure

Auditorium celing comprised of perforated metal panels, tilted to accommodate acoustics.

Parapet: Light gauge steel fram-ing, see elevation detail

Scale

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CENTER FOR INFORMATIONAND COLLABORATION

UNIVERSITY OFARCHITECTURE COLLEGEOF ARCHITECTURE AND

LANDSCAPEARCHITECTURE

PRODUCED BY AN AUTODESK STUDENT PRODUCT

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Cross Bracing: 2 by 18 steel wide ange beams


Center for Information & CollaborationArc401_Design Studio_Systems Integration

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mediumwork room

coffee

breakoutlarge

work room

open offices

admin office

conference room

community meeting

open offices

conference room

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janitorial storage

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mechanical hvac and electrical and plumbing systemsarc401.technical systems integration. fall.2012. brad lang. mark cone. amelia elliott. 5 december 2012. systems

SYSTEMS INTEGRATION

Using skills gained in Arc497, a sketchbook class in Italy documented all of the cities visited over a 6 week period. Rome, Florence, Pas-teum, Pompeii, Vicenza, Venice, Siena, Orvieto, Mantua, Como, Ve-rona, and Tivoli are depicted.

A R I Z O N AArizona in Orvieto_Study AbroadArc497_Architectual Elective

02


I N I T A L Y

Timeline depicting the evolution of Norwegian Stave Church de-sign, comparing styles to English Churches in the 17th Century to contemporary 20th century churches in the American Midwest.

Final Research ProjectArc232_History II

03

Prior to the introduction of Christianity to the Norwegian Culture, the primary buildings found throughout the country were farm homes and barns. The rst churches were mod-eled after the home, or hov, as it was the only local building example known at the time (Doxtater). Previous worship had been done out of doors, in nature, and no pre-Christian temples have been found. The idea of the home as a prototype is seen in an interesting development in the Norwegian Kirke plan. While the overall form of the church is oriented in the European manner, with the long axis east/west, the parishioners used the southern transept arm as the entrance to the church. The north/south movement is sacred to the Norse gods, and so as a precautionary measure (as Norwegians are notoriously superstitious) they bridged the two religions with a mixture of both traditions. Christianity was placed secondary to the Norse gods, as many heathen practices were allowed in the new, Christian religion. The graveyard remained on the south side, and to the north of many of the churches were traditional mounds, marking some sacred space from an earlier religion. The churches were positioned to the south of these great earthen mounds so as to complete the north south axis, as well as to add to the sacredness of the already special site.

Stave churches originated as a place of worship for a previously pagan country, worshiping the Norse gods. The church designs were loosely based upon European churches of the Medeival period, but were also combined with what people knew: wooden ships and farm houses. Instead of waiting for architects and master builders to reach the small villages, the Norwegians took the new building projects into their own hands, with some interesting results (Bugge and Doxtater). Buildings are difcult to classify in timeline form due to the distances between settlements, but provinciality also limited the scope of development, and new developments can seem abrupt and out of place in the constancy of the Norwegian architecture (Alnaes 9).

The stave churches survive today for several reasons. For one, they are isolated in valleys and small villages, with small populations. Also, the churches were well built, and therefore it was not economical to rebuild with every new style. Each church, however, has some kind of alteration that made it more representative to the times, and some reect the changing styles of their European neighbors.

ca. 830 C.E. Gokstad Shipbuilding style.

1015 C.E. Olaf Haraldsson converts to Christi-anity and conquers lands of lords from Denmark, Sweden and Norway. (Paul-son)

ca. 1212 C.E. GOL STAVE KIRKEThis church relates to the Viking ship style of building (see 850 BC). Also, it is an example of Paganism staying rooted in Norwegian beliefs, as the doorways to the west and south have the same level of ornamentation and impor-tance. The significance of the southern door refers to the pagan belief in the north-south axis, of people needing to approach the gods from the south. This equality of importance is also evident in the plan of the church, as it is almost a square with an extrusion towards the east for the altar. The decorations are mostly pagan, with carvings of snakes and dragons.


The drawings above were completed during an elective draw-ing class, a further investigation of the Ringebu Stave Church in Gudbransdal, Norway (found on the time line at 1270 CE). This project allowed for a more thorough understanding of the style and construction of one church. I personally visited the church between completing the research project and drawing class.

Ringebu Stave ChurchArc479_Drawing as a Way of Thinking

03ca. 1270 C.E. RINGEBU STAVE KIRKEThis church has a distinct spire style and is the first to have transepts that are the same height as the nave. In 1631, Werner Olsen added the tower and transepts. The transepts were an attempt to make the church more basilica-like. The tower is placed centrally on the church, over the crossing, the same as where domes were placed in cathedrals, such as in Wrens Cathedral of St. Paul.

The purpose of this class was to introduce as many computer pro-grams as possible, in conjunction with one precedent building. This building is the Tjibaou Cultural Center by Renzo Piano in Noumea, New Caledonia. The semester began with diagramming 2 dimen-sionally in Rhino (far left), investigating the use of the building. It then transitioned to 3D modeling in Rhino (immediate right). The 3D model was detailed, focusing on the buildings structural prop-erties, assembly, and building skins. This model was then imported into 3DS Max, where it was rendered and placed into a photo in Photoshop (middle left), and then rendered in an animation of the assembly of parts (bottom right sequence). The final project of the semester was to 3D print a model that captured some aspect of the building (bottom left), from a Rhino file. The 3D print focuses on the structural characteristics of the The Tjibaou Cultural Center. The model has a laser cut base, working hinged structural fins, and is tensioned with wire for cross-bracing.*Digital 3D model and 2D diagrams were done in collaboration with Andrea Young, everything else is individual work.

Tjibaou Cultural Center Precedent Arc341_Design Communications

04


Roof Plan Scale: 1/16=1-0

Horizontal SectionScale: 1/16=1-0

Horizontal Section LyceumScale: 1/8=1-0

Horizontal Section Reading AreaScale: 1/8=1-0

The purpose of this studio was to integrate siting and program through individual site analysis. Located on the bank of the Rillito River in Tucson, the Poetry Center Pavilion is intended to gather the community for events. It is an outdoor, systems-less program link-ing the community with nature.

Poetry Center PavilionArc201_Design Studio_Spatial Composition

05

B

A

Roof PlanFloor Plan







The project focuses on gathering pedestrian traffic along the wash, bringing people within where the wash is on display in the open-bottomed pavilion. The orientation catches the north-western wind, and the louvered roof allows for natural daylight-ing. The smaller group area focuses on the surrounding views of the Catalina Mountains.

Section B

Section A

Market Roof Section CCScale: 1/8=10

Market Wall Section C CScale: 1 1/2=10

MarketplaceWide flange vierendeel truss construction with operable louvers and water-

proofing that weaves through the structure. Light is filtered and moderated by polygal panels and sheets of alabaster cladding the roof panels.

arc302. spring2012. paul reimer. amelia elliott. 25 april 2012. page 5.

Market Perspective Looking Southeast

Market Perspective Looking Southwest

Market Roof Perspective


This project was set in the Barrio of Tucson, with the goal of enliv-ening the surrounding neighborhood. The program included a mar-ketplace, outdoor community gathering space, and urban housing.

The design took advantage of the sloped site by collecting the community space and market together, and privatizing the urban housing. The marketplace focuses on natural daylighting and venti-lation, with an active, dynamic structural truss system. The exterior follows the street front, to blend with the historical barrio district, while the interior steel frame filters light and people into the cen-tral public space.

Barrio MarketplaceArc302_Design Studio_Tectonics

06

Market Roof Perspective



Site PlanScale: 40 = 10

Site PlanScale: 1/16 =10

Barrio Viejo

ResidentialMarketplace

C C

A A


B B

Site Perspective Looking Northeast

Simpson Street

Kennedy Street

Main

Aven

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Meyer Avenue

This project was a study in understanding how forces work in a spe-cific material. Given a set load applicator, we were to create a one-way span in teams of three. Our system involved creating a glulam arms, in conjunction with a steel tension system around a hinge. Three iterations were completed, each successive iteration building on the lessons learned through testing. I was involved in the design (hand drafting) and the fabrication (completed in CAPLAs shop) of this project.

Loaded One-Way SpanArc221_Structures I_Final Project

07

Team Members: Andrea Young and Taryn Wintersteen


07The cantilever was also a group effort, and involved further exploring of material. Glulam was pushed to the limits of ten-sion (thinner top member) and compression (thicker bottom member). Through testing, the second iteration was improved by thickening the bottom member for form specificity. I was involved in the design (the perspective drawing and force dia-gramming), and the fabrication (cutting, planing, glulamming, and sanding).

Team Members: Andrea Young, Christopher Pela, Jared Niles

CantileverArc322_Structures II_Final Project

First Iteration Second (Final) IterationFirst Iteration Testing

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scale: 2=1-0

transverse elevation

perspective view

long elevation

long section

plan

cantilever project: iteration 01

arc3322//trumble

group:pela, elliott, young, niles

sheet 01 of 02 // plan, sections, elevations & perspective

Wood Grain:

The glulam strip grain will run paral-lel to the span of the cantilever. The

wood usage is inspired by the wood usage of bow craft, hard/heartwood

on the bottom (compression), and soft sapwood on the top (tension),

for each of the four wooden mem-bers. We propose to use strips of

pine for the bottom of the members, and maple for the top. The top plate

will have a higher ratio of soft wood strips, and the bottom members will

comprise of more hard wood.

Bearing Surface and Applied Load:

Both are loaded in a similar way, looping around the top of the cantile-

ver in a rounded groove cut away to reduce damage done by the steel

cable. In tension, the cable itself holds the pieces together with

notches cut into the sides of the pieves below the top plate, limiting

NOTES:

1.

2.

Given a block and a base, teams were charged with lofting the block into the air in a unique way. This was a study in force application, tension and compression. In each iteration, the connection resolu-tions and force members were refined.

Team Members: Camilo Gonzalez and Jim Wright

Block LoftingArc221_Structures I

07


In groups we were given the task of designing a pavilion, with all structural detailing, that would respond meaningfully to its enviro-ment.

This pavilion protects visitors from the sun, collects rainwater through a channel beneath the lower roof, and provides a human scale experience at the seating area and a large scale experience framing the view.

Team Members: Jared Niles, Christopher Pela, Andrea Young

PavilionArc321_Structures II

07

R E D H O O K

rhythmtexture

existingnew

Site: Red Hook, Brooklyn, NYThe HOOK Tower Block is an integrated residential and commercial tower designed to cultivate integration between the existing Red Hook community and the new, wood technology. The intention was to preserve the spirit of the textures, materiality, and scale of the surrounding street front by holding the street edge and being sensitive to the nuances of the eclectic neighborhood. The design incorporates two bars of program on the long sides of the site; this is intended to preserve the historic neighborhoods pedestrian scale bringing the building to the sidewalk. This holding of the street front is done despite the non-orthogonal site orientation, setting up the tower orientation to take advantage of the views of Lower Manhattan, the Hudson River, and the Statue of Liberty.

Timber Tower CompetitionArc402_Design Studio_Competition

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FABRICATION

RESIDENTIAL

BIKE SHOP DIGITAL FABRICATION WOOD

site plan

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The tower is pulled away from the street and lofted on top of the two long street front wings, so the towers height does not overwhelm the street. The corner of Van Dyke and Dwight is the location of the bike shop, because of its proximity to the surrounding neighborhood; the long wings house the digital and wood fabrication labs. This allows for the industrial programs to interact with the exterior streets and the nearby waterfront for ease of transportation, and also creates an interior, pedestrian street through the center of the block for public use. This space creates a plaza that can spill into the community garden across the street .

statue of liberty lower manhattan hudson river

interior street

Area per Floor: 11,250 sq.ft.Fc of CLT, grade E2 : 3230 psiLive Load + Dead Load = approx. 100psf

CLT Tower Tributary Analysis

36 height, spans 3 floors

CLT panels staggered for lateral stability

30 span, CLT-concrete composite floors

CLT partition walls for studio apts.

Level 11

Cross-Sectional Area of CLT350 sqft

Level 10 700 sqftLevel 9 1050 sqftLevel 8 1400 sqftLevel 7 1750 sqftLevel 6 2100 sqftLevel 5 2450 sqftLevel 4 2800 sqftLevel 3 3150 sqftLevel 2 3500 sqftLevel 1 3850 sqft

Tower Level

CLT panel width increases with force

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composite floor

clt panels

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gypsum

Area per Floor: 11,250 sq.ft.Fc of CLT, grade E2 : 3230 psiLive Load + Dead Load = approx. 100psf

CLT Tower Tributary Analysis

36 height, spans 3 floors

CLT panels staggered for lateral stability

30 span, CLT-concrete composite floors

CLT partition walls for studio apts.

Level 11

Cross-Sectional Area of CLT350 sqft

Level 10 700 sqftLevel 9 1050 sqftLevel 8 1400 sqftLevel 7 1750 sqftLevel 6 2100 sqftLevel 5 2450 sqftLevel 4 2800 sqftLevel 3 3150 sqftLevel 2 3500 sqftLevel 1 3850 sqft

Tower Level

CLT panel width increases with force

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Groundplane

insulation

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composite floor

clt panels

steel wide flange

gypsum

On both the interior and exterior streets the facades are designed to be a reflection of Red Hook. By diagramming the surrounding building facades, patterns and textures of material and structure were mapped and distilled. On the HOOK Tower street fronts the facades complement the texture of the adjacent building, with exposed structural intent, window patterns, and style of entry. The mid-rise towers facade is a testament to its structure as well with the CLT panel structure expressed on the exterior, the massive panels transition from large at the base to small at the top based upon changing tributary area.

Timber Tower CompetitionArc402_Design Studio_Competition

08


reT

HIN

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WOOD

The material of the structure is protected by a facade of wood paneling, maintaining the structures soundness but still celebrating its timber construction. The residences in the tower ungulate based upon the units size, creating a larger scale of texture rising from behind the pedestrian street front. This tower is the tallest building in its immediate area and so the tower connects visually to the northeast with distant Manhattan, providing inspiration for future timber construction.

Unfolded Gutter Profiles Scale: 1=10

Section Scale: 3=10

Gutters and Cisterns, North Wall

Gutter Section

The gutter is attached to hat channels.

The hat channels are at-tached to the metal roof flashing and into the fascia board along the roof with laptec screws every 24 O.C.

The rainwater diverter strip will be attached along the top ridges of the roofing panels, allowing water to flow through the lower chan-nels into the gutter.

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Cut Sheets Scale: 1/4=10

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This studio allows students the opportunity to gain practical experience working on a job site. Each of the Design Build houses completed by the College of Architecture at the University of Arizona has a different energy-efficiency strategy. House #5 focuses on the idea of the trombe wall. The house design was drawn and permitted in 2012 by a previous class. During Fall 2013 we completed the first phase of construction; it began with the breaking ground in September and ended with a dried-in structure at the beginning of December.

For our final assignment teams designed the finishing elements of the house. My team was in charge of designing the gutter and cistern system for the following semesters students to carry out.

Team Members: Andrea Young and Jared Niles

Drachman Design Build House #5Arc451_Design Build Studio

09


Section Scale: 3=10


Gutter Section




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5.5

4

5

4 overlap

6


1

2

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A year of work through research, dicsussion, and design.

Position statement: There is a cyclical nature to architectural design: a new, avant-garde design movement emerges, other designers copy the style, and the movement becomes commodified, corrupt, and formulaic. From this cycle comes a deficiency in responsible, timeless architecture.

Government Audit Systems HQ & Historical Society of DetroitArc452_Senior Capstone

10

UP

12

34

56

78

910

1112

1314

15

16

17

18

19

20

21

22

CO

NC

EP

T

GO

VERNM

ENT AU

DIT SYSTEM

S HEA

DQ

UA

RTERS

& HISTRO

ICAL SO

CIETY OF D

ETROIT

THE PIT

The existing site is unearthed and flipped, leaving

a pit on woodw

ard ave. The pit is a public plaza

serving to make transparent that w

hich has been

hidden. The building serves as an paradigm for the

Historical S

ociety and Governm

ent Audit C

enters

effect on the city: an appreciation for Detroits histo-

ry, and the chance for a new, transparent relation-

ship between the city and its governm

ent.

X

X

Y

Y

Existing Site and

Colum

n Grid

Unearthing of

Mass

Anchor of S

olid

Wall

Structural

extension

Com

pletion of pit,

wing extension

12

34

5

FLOO

RS -4 TO

-1

FLOO

RS -4 TO

-1

816

32

0

Scale: 1 = 1/16

1632

64

0

Scale: 1 = 1/32

ARC

452: SENIO

R C

APSTON

E, SPRIN

G 2014 // FIN

AL REVIEW

// AMELIA ELLIO

TT // 4 APRIL 2014 // PR

OFESSO

R AN

DR

EWS // PAG

E 3

UP

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

16

17

18

19

20

21

22

C O N C E P T

GOVERNMENT AUDIT SYSTEMS HEADQUARTERS& HISTROICAL SOCIETY OF DETROIT

THE PITThe existing site is unearthed and flipped, leaving a pit on woodward ave. The pit is a public plaza serving to make transparent that which has been hidden. The building serves as an paradigm for the Historical Society and Government Audit Centers effect on the city: an appreciation for Detroits histo-ry, and the chance for a new, transparent relation-ship between the city and its government.

X

X

Y

Y

Existing Site and Column Grid

Unearthing of Mass

Anchor of Solid Wall

Structural extension

Completion of pit, wing extension1 2 3 4 5

FLOORS -4 TO -1

FLOORS -4 TO -1

8 16 320

Scale: 1 = 1/16

16 32 640

Scale: 1 = 1/32

ARC 452: SENIOR CAPSTONE, SPRING 2014 // FINAL REVIEW // AMELIA ELLIOTT // 4 APRIL 2014 // PROFESSOR ANDREWS // PAGE 3

CONCEPT :

UP

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

16

17

18

19

20

21

22

C O N C E P T

GOVERNMENT AUDIT SYSTEMS HEADQUARTERS& HISTROICAL SOCIETY OF DETROIT

THE PITThe existing site is unearthed and flipped, leaving a pit on woodward ave. The pit is a public plaza serving to make transparent that which has been hidden. The building serves as an paradigm for the Historical Society and Government Audit Centers effect on the city: an appreciation for Detroits histo-ry, and the chance for a new, transparent relation-ship between the city and its government.

X

X

Y

Y

Existing Site and Column Grid

Unearthing of Mass

Anchor of Solid Wall

Structural extension

Completion of pit, wing extension1 2 3 4 5

FLOORS -4 TO -1

FLOORS -4 TO -1

8 16 320

Scale: 1 = 1/16

16 32 640

Scale: 1 = 1/32



TRANSVERSE SECTION4 8 160

Scale: 1 = 1/8



UP

UP

UP

UP

12' - 9 1/4"32' - 0"

30' - 0"30 ' - 0"

30' - 0"30 ' - 0"

3' - 0"31' - 0"

30' - 0"34' - 0"

30' - 0"30 ' - 0"

30 ' - 0"30' - 0"

35' - 0"

DN

DN

UP

UP

DN

DN

DN

DN

12

34

56

78

910

1112

1314

15

161718192021

22

23

A107

5

DN

DN

12

34

56

78

910

1112

1314

15

161718192021

22

A107

5


12

34

56

78

910

1112

1314

15

161718192021

22

WEST ELEVATION

NORTH ELEVATION

SOUTH ELEVATION

LONGITUDINAL SECTION

EAST ELEVATION8 16 320

Scale: 1 = 1/16

8 16 320

Scale: 1 = 1/16

8 16 320

Scale: 1 = 1/16

8 16 320

Scale: 1 = 1/16

8 16 320

Scale: 1 = 1/16



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